Documents of Latin American and Latino Art

This lengthy article discusses the main doctrinaire questions that concerned Joaquín Torres García, stressing his personal view of the “American race” as a transplant with no roots, for which he proposes the development of a collective, “ [...]

This brief but thorough review by the Argentine critic Damián Bayón explores the development of Argentine art from the eighteenth century to the present day. He mentions artists, architects, and sculptors who have helped to define the concept of [...]

Carlos Basualdo links the works gathered in this exhibition, The rational twist [(New York: Apex Art, February, 1996) with the “memory” of Argentinean Concrete art; almost nonexistent, as such, for economically developed countries, since, at the [...]

In this introductory text for works by Enio Iommi, Pellegrini highlights how the artist’s sculpture broke with the traditional criteria of volume, weight and quiescence by juxtaposing spatial structure against volume. His analysis dates three [...]

In the prologue that he wrote for the catalogue of the 4th Arte Concreto — Invención exhibition, held in October 1946 at the Ateneo Popular, in La Boca district of Buenos Aires, Edgar Bayley states that in the new art, painting, music, and poetry [...]

The Inventionist manifesto—published in the catalogue for the first exhibition of the Asociación de Arte Concreto — Invención [Concrete Art and Invention Association] (1946)—discards the illusory image of representative art and extols life, [...]

This text is a programmatic source that reports the active participation of the Concrete Invention at the core of a socialist construction of the world that would be based on the creation of new natural elements, both mechanical and technical [...]

In this article, Sarandy Cabrera comments on the opinions expressed by Tomás Maldonado in his essay, “Torres-García against Modern Art,” published in the magazine [Bulletin of the Concrete Art and Invention Association]in December 1946. Cabrera [...]

This is an open letter written by Raúl Lozza in defense of modern painting. It is a response to statements made by the Brazilian writer José Bento Monteiro Lobato published by the Buenos Aires daily newspaper El Mundo on November 1, 1946. In his [...]